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SergioBenatti

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Everything posted by SergioBenatti

  1. SergioBenatti

    O Que Você Anda Vendo e Comentando?

    Não tinha visto esse filme de 1991 do Soderbergh. Mistura a vida real de kafka à de seus mais importantes personagens. Quem não está familiarizado com seus livros tende a não apreciar o filme. Captou bem o fundamento lírico: O mundo burocrático/institucional com ares de terror e vilania. Melhor coisa do filme, em seus aspectos técnicos, é a direção de arte do nunca celebrado Gavin Bocquet.
  2. SergioBenatti

    O Que Você Anda Vendo e Comentando?

    Estreou no dia 1º de janeiro de 1968, começando portanto o icônico ano com essa maravilha. Semanas mais tarde, viria o primeiro disco de Caetano Veloso com a canção "Superbacana" e seu versos celebrando as novidades do mundo, a modernidade, como, por exemplo, o nosso cinema, com "Copacabana me engana". Muso Carlos Mossy, Musa Odete Lara, muso Claudio Marzo, no primeiro "ménage à trois" do cinema nacional. Um plano excelente, ao som de Mutantes. Sexo da liberdade. Na fotografia excelente, Affonso Beato, que depois iria fazer "Carne Trêmula", "Tudo Sobre minha Mãe", "A Rainha"...Mas antes fez essa maravilha aqui. Que trabalho do Antônio Carlos Fontoura!
  3. SergioBenatti

    Oscar 2019 - Previsões

    Weekend Results1. Deadpool 2 – $125 million2. Avengers: Infinity War – $28.67 million3. Book Club – $12.5 million4. Life of the Party – $7.72 million5. Breaking In – $6.47 million6. Show Dogs – $6.03 million
  4. SergioBenatti

    O Que Você Anda Vendo e Comentando?

    Como vocês sabem, estou lendo "O Som e a Fúria", meu quarto Faulkner, mas esse é sem dúvidas o mais difícil. Tanto que resolvi assistir ao filme, mesmo estando na metade do livro. Precisava de algum tipo de orientação/confirmação. Podem dizer o que for do James Franco, mas ele está sempre se arriscando (aqui também na direção), e além de tudo é bom ator. No final, o filme é tão difícil quanto o livro. Mas me ajudou muito.
  5. SergioBenatti

    O Que Você Anda Vendo e Comentando?

    "A Grande Cidade" é um filme de 1966 do Cacá Diegues (vou deixar de mencionar o subtítulo longo e denotativo) já cheio de ambição de interpretar o Brasil. Cheio de problemas técnicos, mas rico em conceituação. Trilha sonora excelente: Zé Keti, Bethânia, e Roberto Carlos arrasando com "Nasci pra Chorar". As favelas do Rio de Janeiro sendo formadas pelos nordestinos expulsos pela seca. Leonardo Villar, monstro de ator. "A guerra é grande e tá todo mundo nela. Eu não." gritada por um jovem Antônio Pitanga em um teatro de arena.
  6. SergioBenatti

    Oscar 2019 - Previsões

    Fico muito feliz e, ao mesmo tempo, ansioso pra ver esse filme. Hirokazu Koreeda é de uma delicadeza sem paralelo...Não saberia escolher qual é o mais bonito entre "Still Walking', "Nobody Knows", e "Like Father, Like Son", fora os outros... Para o Oscar, Japão, Egito, Polônia, e Colômbia, têm potenciais representantes muito fortes. "BlackKKlasman" sai muito bem com esse segundo lugar, Grand Prix, bem cotado pra uma vaga de Roteiro. Diretor eu já não sei.
  7. SergioBenatti

    Oscar 2019 - Previsões

    The Wild Pear Tree: First Reactions: Jamie Graham: Adored Ceylan’s Wild Pear Tree, which plays something like a 188-mins Turkish take on Linklater’s Slacker – walking & talking about everything from responsibility of artist to Koran, technology to free love vs arranged marriage. A heavyweight fathers & sons tale, too Alex Billington: Oh my. Cannes dropping the most profound film last at the festival. Nuri Bilge Ceylan digging very deep into the metaphysical and existential. I think this film just broke me. Tim Grierson: An endurance test about fathers, failure, the black hole of anger, and the passage of time that gathers emotional heft as it goes along. There’s too much of it, but I really like where it ends up. Robbie Collin: I’d be lying if I said I was in the mood for three-plus hours of talky drama tonight, but Ceylan’s The Wild Pear Tree is a real mesmeriser – a rangy, discursive fable of prodigal fathers and sons, and one of the best-looking films at the fest. Jordan Hoffman: I’ve seen 1000 movies about the “Angry Young Man” but never one as calm, beautiful and earnest as this. Best ending ever, and best end to Cannes 2018 Stephen Miller: Ceylan goes Linklater in the sprawling, talky, metafictional WILD PEAR TREE. Literature, religion, risk v contentment, class angst. Like the book at the center, I haven’t fully digested it; but it sure has a lot of pages and TINY print. Bilge Ebiri: I giggled like a maniac through the first half of Nuri Bilge Ceylan’s THE WILD PEAR TREE, thinking he’d made his funniest film yet. Then I bawled like a broken child in the last act. This is a hundred times better than WINTER SLEEP. Donald Clarke: Very much liked THE WILD PEAR TREE. Just about makes the case for conversation as cinema. Has more momentum than WINTER SLEEP. Martyn Conterio: Nuri Bilge Ceylan’s The Wild Pear Tree, about a complicated father and son relationship set in rural Turkey, is absolutely brilliant. It’s a long road to the ending, of course, but my god what a payoff! Ceylan’s film has the richness and depth of great literature Arash Azizi: What a magical beauty was Nuri Bilge Ceylan’s “Wild Pear Tree,” a fitting end to my Cannes and easily the best of the festival. Three haunting hours and not a minute too long. Memorable dialogical scenes, one day to become canonical. Masterpiece. My score: 5/5 Rory O’Connor: Nuri Bilge Ceylan’s THE WILD PEAR TREE – A stunning film about fathers and sons. Demands a lot, but worth every minute for the emotional payoff.
  8. SergioBenatti

    Deadpool 2

    Eu amei. O iníciozinho é de matar! hahaha A parte do paraquedas é ótima também; e ...a Dominó é muito foda. Deu pra sentir que a direção é de outra pessoa. As lutas - à la "Atômica" - são muito bem ensaiadas.
  9. SergioBenatti

    Oscar 2019 - Previsões

    Pablo Villaça‏Conta verificada @pablovillaca 3 hHá 3 horas Mais 37) O Homem que Matou Don Quixote - O roteiro caótico, enfraquecido ao longo dos anos necessários para a realização do projeto, fragiliza o filme - mas é a direção burocrática de Terry Gilliam que realmente desaponta. (E é a 1a. vez que não gosto de Adam Driver.) 2/5 #cannes2018
  10. SergioBenatti

    Oscar 2019 - Previsões

    Pablo Villaça‏Conta verificada @pablovillaca 3 hHá 3 horas Mais 35) Knife + Heart - A estética kitsch, o roteiro melodramático e as atuações estilizadas criam uma experiência divertida, mas sem o peso temático obviamente desejado pelo diretor. 2/5 #cannes2018
  11. SergioBenatti

    Oscar 2019 - Previsões

    Pablo Villaça‏Conta verificada @pablovillaca 3 hHá 3 horas Mais 36) Ayka - Oito anos depois de sua estreia com o belíssimo Tulpan, o cineasta cazaquistanês Sergei Dvortsevoy retorna com um filme protagonizado por uma personagem tão sofrida (a ótima Samal Yeslyamova) que a experiência se torna quase insuportável. 3/5 #cannes2018
  12. SergioBenatti

    Oscar 2019 - Previsões

    Ayka First Reactions: Jamie Graham: Ayka is a powerful tale of a woman abandoning her newborn baby & scrabbling to survive, the mobile camera sticking uncomfortably close. Suffers from being programmed the day after Capharnaum, & by inevitable comparisons to 4 Months, 3 Weeks & 2 Days Federico Polidoro: I just got out from the press screening of Ayka and, even if few people get out of Theatre in advance, I won’t surprise that much if it gain some great award this year Tim Robey: AYKA is basically post-natal Mungiu: baby abandonment, financial desperation. 5 days, 4 hrs, etc. Harsh, and stern, with way fewer plays for sympathy than Labaki yesterday Simon Santiago: In Ayka, Sergey Dvortsevoy does a desperate and a little weary female portrait in the style of the Dardennes and stays too close to the model. Good female performance and an inspired ending for and otherwise correct film Dominic Wakeford: Aside from some slightly clumsy bookending, this is a clear-eyed and unsentimental portrayal of one woman’s quest to survive in an unsympathetic world. The compressed time frame mostly works, and Dvortsevoy doesn’t give his audience much room to breathe Martyn Conterio: *Loved* Ayka – as hard-going as trudging through snow in a blizzard, S. Dvortsevoy’s portrayal of a new mum doing a runner in an oppressive Moscow is a very rewarding experience. My Palme D’or nom (but it won’t win because Capernaum) Mark Klashorst: interesting look at immigration issues in Russia. “Why don’t you have your babies in your own countries “, asks a nurse from the protagonist. Three decades ago they were countrymen, now one of them is a second rate citizen. Confronting Paul Ridd: Loved the relentless, video-game aesthetic of AYKA. Reminded me of SON OF SAUL. Matt Cipolla: aka THE GRAND CANNES-YAWN. Its realism is admirable, but this is some /incredibly/ slow cinéma vérité without nearly enough insight or variation to sustain its meager 100-minute runtime. A strong 65-minute film is in here and this isn’t it. Ken Adams: really bad, but I find hilarious that the same kind of crap like GODLESS receives acclaim while this seems to be getting a beating. Mikko Pihkoluoma: Ayka is one of the top10 of the festival for me. Stunning portrait of a miscarriage. A lot of walkouts from the press screening.
  13. SergioBenatti

    Oscar 2019 - Previsões

    Knife & Heart First Reactions: Elena Lazic: Yann Gonzalez’s lazy CRUISING-inspired bore KNIFE + HEART, like his YOU AND THE NIGHT, thinks it is more original than it is. The flashy visual style also feels ultimately random and pointless. Nice lighter moments, but Vanessa Paradis & Nicolas Maury deserve better. Jamie Graham: Really enjoyed first half of gay-porn giallo Knife + Heart as it riffed on Fulci, Bava, De Palma & more. Who wouldn’t want a film with shades of Cruising and The Tenderness of Wolves contesting for the Palme d’Or? Then it spiralled down the plughole Cassidy Olsen: KNIFE + HEART is a hazy, terrifying, exploitatively French movie that makes me want to slather on blue eyeshadow and also never sleep again. Really enjoyed seeing the walkouts as soon as a dildo appeared Mani Lazic: aims for dreamlike & lands in silly, somehow making the underground world of 1970s Parisian porn production look boring & not giving its people any depth Ella Kemp: KNIFE + HEART could have been great, electric, as passionate its subjects. But Gonzalez quickly gets lost, somehow making devastating acts of crime and love feel like a pantomime. David Ehrlich: Paris, 1979. someone is murdering gay porn stars with a dildo switchblade and Vanessa Paradis is kinda getting off on it. A strangely inert film that plays like a giallo slasher directed by Kenneth Anger. Tim Robey: Yann Gonzalez’ gay-porn-giallo-pastiche KNIFE + HEART peaks early, with a barked demand on set for a fluffer called Bouche d’Or. “Bouche d’Or!!!” I howled. How did it then get so dull? Cedric Succivalli: Knife + Heart gets a big fat queer ZERO from me. Gurl bye! That was beyond atrocious, like WTF? Sam Zimmerman: Shout out to KNIFE + HEART. It’s the art queer slasher we need and Vanessa Paradis is so good she made me cry. David Jenkins: With that set-up, that cast, those characters, that subject matter, those reference points, that title, how how how could Yann Gonzalez’ Knife + Heart be such an absolute drag? Justin Chang: THE HOUSE THAT JIZZ BUILT. A shoo-in for the De Palma d’Or, as well as the Palme d’Orgy.
  14. SergioBenatti

    O Que Você Anda Vendo e Comentando?

    O filme de hoje não poderia ser outro. Muito engraçado, muito legal, e tudo funciona. Um abraço "pélvis com pélvis" para todo mundo.
  15. SergioBenatti

    Oscar 2019 - Previsões

    Dogman First Reactions: Jamie Graham: Desolate shorelines & beautiful shots of ugly, hardscrabble landscapes populated by idiosyncratic ‘lowlifes’ engaged in petty crime… There’s something of Fellini’s early neorealist films to Matteo Garrone’s commendable Dogman. Plus, a supporting cast of mighty mutts Mani Lazic: a quiet life disturbed by crime, full of funny moments that becomes an absurdist nightmare. Much lighter than GOMORRA but a great central performance. And so many good doggos! Veronika K Zajdela: Welcome back to the top, Mr. Garrone. Alex Billington: Loved this. But that’s obvious, it’s a dog movie. Matteo Garrone’s latest is not profound but it is simply satisfying, all about a humble Italian dog groomer getting back at a bully. No animals were harmed in my enjoyment this film. Tomasco Tocci: Nobody in Italy builds stories on faces and places like Garrone. When put in service of genre, he makes the best damn genre cinema you can hope for. A lean, compact micro-thriller. It’s actually the opposite of GOMORRA, going back to his early films instead. Robbie Collin: Matteo Garrone’s Dogman is a darkly funny frontier (im)morality tale closer in tone to Gomorrah than his more fantastical recent stuff, but the Fellini carnival spirit endures. And *so many* good boys. Loved! AA Dowd: Not a whole lot going on in DOGMAN, which kept my interest but didn’t really take its theme of misplaced loyalty anywhere especially surprising. The lead performance is quite strong, though. David Ehrlich: Matteo Garrone’s DOGMAN is a well-shot, beautifully acted, and thuddingly obvious parable about fascism and poodles. not strong enough to stick in the mind on day 3892 of #Cannes2018 . Jordan Ruimy: There have been 4 or 5 films in this year’s competition that I would call indisputably great, Matteo Garrone’s DOGMAN is most definitely one of them. Marcello Fonte is almost a cinch to win best actor at Cannes this year, think a gaunt, younger version of Pacino. Peter Bradshaw: Matteo Garrone’s Dogman is a compelling opera of beta-male criminal martyrdom – it actually comes closer to explaining the emotional inadequacy of gangsterism than Gomorrah. Peter Howell: Matteo Garrone’s “urban western” of meek dog groomer’s complicated relationship with violent neighbourhood bully is more of a character study and morality play, but great storytelling by any definition. Best Actor for Marcello Fonte!
  16. SergioBenatti

    Oscar 2019 - Previsões

    Capernaum First Reactions: Jamie Graham: Kids surviving on the streets in Lebanese drama Capharnaum. Compassionate, harrowing social-realism from writer-director Nadine Labaki. Superbly made and acted. Has a real shot at the Palme d’Or Michelle Morgan: Just got out of CAPHARNAUM directed by Nadine Labaki. Gutted. This will won the Palm D’Or Ali Benz: CAPHARNAUM is good. Masterful build-up but very Spielberg-y last act. Nadine Labaki directed her 2 main actors to perfection. Zain Alrafeea gave a performance I’ll put very high on every list that deals with excellence in acting. Dave Calhoun: Wish I’d actually put some money on my hunch that Nadine Labaki would win the Palme d’Or… Ben Croll: CAPHARNAÜM may not be the best world cinema art film playing at #cannes71 but it’s certainly the MOST world cinema art film. Caspar Salmon: Nadine Labaki’s CAPHARNAUM: a verdict in two parts. Part one: critical verdict. CAPHARNAUM is a sweeping, moving political drama full of humanity and sorrow, with an inhabited central performance by the lead child actor. Part two: appallingly non-critical verdict. CAPHARNAUM broke me in two. I started sobbing half way through and can’t seem to stop. Xan Brooks: Capharnaum (Nadine Labaki) the most emotionally harrowing film I’ve seen at Cannes 2018. Destitute runaway, big bad city, abandoned toddler. Scrape me up off the floor, I’m done James McAllister: Nadine Labaki’s CAPHARNAUM sure ain’t subtle, but it hits *hard*. At times deeply flaws, at others staggeringly sad. I’ll be shocked if this doesn’t win the Palme! Jason Gorber: Moving, impactful work that touches on the survival instinct of a young boy and other economic refugees. Comparisons to FLORIDA PROJECT and even CITY OF GOD, it’s a film with a straight forward narrative that’s likely to have massive audience reaction Robbie Collin: Nadine Labaki’s sensational Capernaum turns a street kid’s struggle into a kind of social-realist blockbuster. Middle hour is so crazily ambitious I’m not clear how she pulled it off: watch this win the Palme on Saturday, maybe the foreign language Oscar next. Martyn Conterio: What a shame Nadine Labaki munsons things with Spielberg type schmaltz at the end of Capernaum. It touches true greatness until late in the third act. The kid was phenomenal.
  17. SergioBenatti

    Oscar 2019 - Previsões

    Do Pablo: Este ano, não desculpa para que o @Festival_Cannes conceda a Palma para um filme dirigido por uma mulher (apenas a segunda da História!). O que a libanesa Nadine Labaki faz em Cafarnaúm é transcendental.
  18. SergioBenatti

    Qual Livro Você Está Lendo?

    Certamente é um dos mais celebrados, mas não sei se baterá a excelência de "Luz em Agosto".
  19. SergioBenatti

    O Que Você Anda Vendo e Comentando?

    Assisto a poucas séries, mas essa aqui me fisgou pelo texto. A segunda temporada conseguiu ser melhor do que a primeira.
  20. SergioBenatti

    Oscar 2019 - Previsões

    Burning First Reactions: Emma Stefansky: BURNING is the slowest of burns, a leisurely noir that gradually paints an unsettling that gets weirder as it goes picture. The score is fantastic. Steven Yeun is utterly chilling Alisha Rouse: In the spirit of clawing some time back after a good film that would have benefited from a 2hr cut, Burning summarised: First hour – a man snored next to me. Last 1hr 25m – excellent. Ends. Mani Lazic: BURNING: the most unexpected mystery thriller, doesn’t follow any rules in the book & hits you with emotion by surprise. An assured & totally mesmerising slow-burn, yes! Jessica Kiang: Brimful to overflowing with BURNING love. Alex Billington: Burning – Lee Chang-dong’s super slow burn thriller unravels in a very meticulous way. At two and a half hours, it’s a tough one to follow but kept me riveted at least. Has a dark core to look for if you’re into Korean thrillers like this. Peter Bradshaw: Lee Chang-dong’s Burning is superbly shot and scored – a mystery thriller of obsessive love based on a Murakami story, but with something of Patricia Highsmith or maybe a Ruth Rendell novel that Chabrol might have filmed. Jordan Hoffman: Let it be known that Lee Chang-Dong’s BURNING features the magic hour marijuana haze dance sequence of the year and it is set to Miles Davis’ ELEVATOR TO THE GALLOWS. The rest of the movie is pretty substantially wow wow wow too. David Ehrlich: Burning is a masterpiece Douglas Greenwood: BURNING lures you in as a love story, and then tears you in two 150 minutes later as something completely different. So good looking it’s almost painful. Jun Jong-Seo is a goddamn star already. Joesph Owen: Lee Chang-Dong’s BURNING starts like Cat Person and ends freezing its nuts off. Just need to track the bits in between. The oleaginous, sadistic, Faulkner-reading Gatsby is a bastard modernist for today. Liked it David Jenkins: It’s late in the fest, raining and I’m hungry, so will just say that Lee Chang-dong’s Burning is pretty amazing. The slowest of slow burns, the grandest of pay-offs.
  21. SergioBenatti

    O Que Você Anda Vendo e Comentando?

    Vingança e expiação das culpas. Demorei muito pra ver, mas gostei bastante. Depois de "Dente Canino", eu consigo ver qualquer coisa. Manda mais, Yorgos Lanthimos!
  22. SergioBenatti

    Oscar 2019 - Previsões

    Under The Silver Lake First Reactions: Alissa Wilkinson: UNDER THE SILVER LAKE is pretty pitch perfect as postmodern pastiche sunshine noir with rootless hipster East LA positioned as the end of history, which isn’t for everyone, but definitely for me Miriam Bale: I could not hate UNDER THE SILVER LAKE more. A complete turd. If you loved INHERENT VICE, you will hate UNDER THE SILVER LAKE. But also if you hated INHERENT VICE, you’ll probably hate UNDER THE SILVER LAKE. Mani Lazic: UNDER THE SILVER LAKE is the worst film I’ve seen in a very long time. Why would you impose 2 hours and 20min of such meaningless bullshit on people? What does David Robert Mitchell want from us? Emma Stefansky: I lost track of all the classic Hollywood references crammed into UNDER THE SILVER LAKE about an hour in, but was charmed by its stylish, hazy flair and how it embraced the American cinema mythology that living in LA is like living in a dream Emily Yoshida: UNDER THE SILVER LAKE is exactly the kind of thing I want from this festival – ambitious, flawed, a vision. An LA film through and through,not just in setting but in its pace and cuckoo logic and knowingly ridiculous male gaze. Beatrice Behn: Under the Silver Lake fails terrifically. I love its potential, its knowledge of film history, pop culture, its camera and meta-dialogue. But alas, it loses itself in the overcomplicated plot & the slow pacing becomes a drag. But still: I want to see more of Mitchell. Elena Lazic: I was bored out of my mind for the entirety of the juvenile, predictable UNDER THE SILVER LAKE, then the impossibly dumb ending made it even worse. A monumental waste of time. Ella Kemp: UNDER THE SILVER LAKE convinced me it was so many different movies and I loved all of them. Gregory Ellwood: Under the Silver Lake is A LOT. Probably too much, but you can’t say David Robert Mitchell doesn’t have a vision. He’s just got a ton of them in one move. Guy Lodge: (C) Pulling off a genuinely haphazard-feeling hang movie actually takes a lot of structural finesse, and I don’t feel it here: fun to start with, but there’s no dreamy momentum to it. Garfield carries it just right; shame it’s so uniformly lousy on women. Bilge Ebiri: UNDER THE SILVER LAKE: I might have liked that more in a world where Paul Thomas Anderson & David Lynch didn’t already exist.
  23. SergioBenatti

    O Que Você Anda Vendo e Comentando?

    Revendo esse clássico do adultério, entre outras coisas para poder admirar o figurino de "Coco" Chanel (não creditada) para Jeanne Moreau. Tá tudo lá: pretinho básico, colar de pérolas, tailleur e chapéu, e a famigerada camisola esvoaçante. Este filme é de 1958, poucos anos depois, nas mãos de outro diretor francês, ela de novo seria uma mulher para dois....
  24. SergioBenatti

    Oscar 2019 - Previsões

    At War First Reactions: Jamie Graham: The French know how to fight for their rights & Stéphane Brizé knows how to make a protest film. At War is 2hrs of fractious meetings & picketing, debating & arguing. Suffocating, in a good way. Missteps at v end. Vincent Lindon is one of the best actors on planet Ella Kemp: AT WAR shifts between galvanising anger and blunt exhaustion. Vincent Lindon leads a seamless ensemble of non-actors, the striking workers/fervent activists that France already knows all too well. A safe Compétition entry. Robbie Collin: Very into Stephane Brizé’s En Guerre, which is more or less the Avengers: Infinity War of shouty French acting. Impassioned, issue-driven social realism *with nuance and critique*! Alex Billington: Nearly two hours of French people arguing about jobs and corporations and money and greed. Gets a bit tiring because no one is going to budge but I admire the passion and idealism and importance of showing this story. Tom Bond: a ferocious performance from Vincent Lindon in this belligerent socialist drama, but it hits the same beats too often and veers off-track at the end Peter Bradshaw: Stéphane Brizé’s At War is a strident, cacophonous movie about a strike which finally immolates itself in angry in a preposterous style of martyred self-pity. Charles Bramesco: an update of Eisenstein’s STRIKE that proves just how little things have changed since then. Shame on the capitalist leeches that feed on the workers’ labor. Set the bosses on fire. David Jenkins: Stéphane Brizé’s At War charts the fiery and understandably shrill face off between union (good) and management (evil) at a French car parts factory facing foreclosure. Solid lefty polemic. Vincent Lindon plays shouty Jesus and could win a(nother) prize. Mikko Pihkoluoma: Saw Thierry Fremaux teary-eyed at the end of En Guerre. An extremely well made characteristically French conversation piece about a strike that tries to prevent the closing of a local factory. Will likely win something at least. Marc Klashorst: Like BlacKkKlansman, a lot of anger and not much else. Liked the intensity in this a bit more, but neither film is really good. Lindon et al. very good though Joseph Owen: Brize’s En Guerre (AT WAR) stands in great tradition of strike films. Meticulously researched, very talky, attritional and repetitive–just like industrial action, then. Overplays hand at the end but the old French statists loved it. Macron maybe less so
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